THE MICHICAN
DAILY
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P ubhl ish 9dc every morning except Monday
during the University year by the Board in
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many passages well calculated to
shock censors hidebound in Puri-
tanism.
If there hadbeen English and
American censors for centuries,
what would we know of Aristo-
phanes, Rabelais; Swift, Byron,
Boccaccio, Voltaire, Balzac, Juven-?
al, Petronius, or Ben Jonson?
Censors handed a cup of bem-
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I Music and Drama
The Chicago Exhibit
A REVIEW BV JEAN PAUL SLUSSER.
The present exhibition of paintings in Alumni Memorial Hall enables
one to pick up heart again after the icy standardized dullness of its
predecessor. Here, to be sure, are selected pictures from one of the large
i
OPTICAL'
DEPARTMENT
Lenses aad Frames Made to Order
Optical Prescriptions Filled
HALLERS
STATE STREET JEWELERS
L
LANE HALL TAVERN
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The Choicest of
Entered at the postoffice at Aan Arbor, lock to Socrates, the wisest man a
Michigan, as second class matter. Special rate his age. because they feared he was
of postage grauted by Third Assistant porst. heyuh fAhesi
maserGeneral. by carrier, $4. by I, corrupting the youth of Athens in
$4. or. his attempt to replace the totter-
Offices: Ann Arbor Press.Building, May- ing authority of Greek polytheism
aard Street.? n auhrtofGekplhis
:Phones:Editorial, 4925; Business, a2a4. by a rational code of ethics.
EDITORIAL STAFF o
Telephone 4925
MANAGING EDITOR THE FUTILITY OF COALITIONS.
ELLIS B. MERRY Coalition government is unstable
Ct Editor.a an........iere C.seTierg and temporary wherever it exists,
News Editor.............Donald J. Kline but when it is forced to assume re-j
Sports Editor....... Edward L. Warner, Jr.
Women's Editor..........Marjorie Follmer Sponsibility in a country tradition-
Telegraph Editor.......Cassam A. Wilson it
Music and Drama......William J. Gorman ally of the two party nature, like
Literary Editor........Lawrence R. Kleinal
Assistant City Editor.... Robert J. Feldman the United States, its impotencyl
Night Editors-Editorial Board Members
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Wholesome Foods
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it
Frank E. Cooper Henry J. Merry
William C. Gentry Robert L. Sloss
Charles R. Kauffman Walter W. Wilds
Gurney Williams
Reporters
Morris Alexander. Bruce J. Manley
Bertram Askwith Lester May
Helen Barc Mt,.rgaret Mix
Maxwell Bauer David M. Nichol
Mary L. Behymer William Page
Allan H. Berkman Howard H. Peckham
Arthur I. Bernstein . lugh Pierce
S. Beach Conger John co D. ReRindeit
Thomas M. Cooley Jeannie Roberts
Helen. Domine Joseph A. Russell
Margaret Eckels Joseph Ruwitch
Catherine Ferrin Ralph R. Sachs
('arl F. Forsythe Cecelia Shriver
Sheldon C.Fullerton Charles R. Sprowl
Ruth Gallmeyer Adsit Stewart
Ruth Geddes S. Cad well Swanson
Ginevra Ginn Jane Thayer
tack Goldsmith Margaret Thompson
Emily Grimes Richard L. Tobin
Morris Crove-mal Robert Townsend
Margaret Harris Elizabeth Valentine
Cul en Kennedy Harold 0. Warren, Jr.
ean Levy G. Lionel Willens
Russell E. McCracken Barbara Wright
Dorothy Magee Vivian Zimi
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A. J. JORDAN, JR.
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Department Managers
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fames Hoffer Joseph Van Riper !
Norris 3Johnson Robert Williamson #
Charles Kline Wiliam R. Worboy
Dorothy Bloomgardner Alice McCilly
Laura Codling Sylvia Miller
Agnes ,Davis Helen E. Musselwhite
Bernice' Glaser Eleanor Walkinshaw
f ortense Gooding Dorothea Waterman
FRIDAY, MARCH 21, 1930
Night Editor, CHAS. R. KAUFMAN
DRAFTS OF HEMLOCK.
Senator Smoot smokes his cigar
with calmer puffs this week than
last, because the Senate has voted
into the tariff bill a modified form
of his pet measure-censorship ofj
foreign books.
Perhaps the Senator, in the more
confidential of his Puritanical
moods, would confess slight cha-
grin that the task of censorship
has been delegated to a federal
district court. He may have hoped
that he would himself become of-
ficial American censor.
But of course, selection of the
courts to act as censor is the most
sane aspect of the regrettable piece
of legislation. It is so because the
court will probably appoint a board
or commission, selected as intelli-
gently as the contingencies of the
situation permit, to decide on and
to effect the mechanics of censor-
ship.
The difficulty inherent in any
form of censorship lies in the deli-
cate discrimination which must be
shown between books which aim
at liberal discussion of social or po-
litical problems, and books written
by perverts which are frankly and
unintelligently disgusting. While
no harm is attached to keeping out
of the country books of the latter
description (which probably would
never sell, even if they were stock-
ed in a few stores) it is essential
to the intellectual vitality of the
present generation that it have ac-
cess to all books which contain
vital discussions of current prob-
lems.
John Stewart Mill stated the case
well when he said: 'The peculiarl
evil of silencingthe expression of
opinion is that it is robbing the
human race, posterity as well as
the existing generation; those who
dissent from the opinion, still more
than those who hold it. If the
opinion is right, they are deprived
of the opportunity of exchanging
error for truth; if wrong they lose,
what is also a great benefit, the
clearer perception and livelier im-
pression of truth produced by its
collision with error."I
runs into futility. Never in the'
history of the country has this.
principle been so completely and;
pointedly illustrated as in the rec-
ord of the Senate during the past
six months.
When the tariff bill emerged
from the Finance committee last
September the Progressive Repub-
licans and Democrats, bound to-
gether by common enemies (Hoov-
er anddhigh-tariff)dominated the
tariff debates. Recently, however,
when the more perplexing matters
of the measure were encountered,
the coalition broke down, its mem-
bers switching to sundry other
It was on the wool schedule that
the combine first split, some of the
Progressives bolting to vote with
the high-protectionists. Since that
occasion several of the schedules
have been rewritten under the in-
fluence of the Old Guard and
Hooverite Republicans.
The breakdown was expected,
but its cause is still beyong the cer-
tain knowledge of even the most
astute diagnosticians of the politi-
cal situation in Washington. Many
have hunches they consider quite
near the truth. There is the lead-
ership effected by Joe Grundy, the
' refusal of the Democrats to coop-
erate further when they found
they were not achieving their
prime objective, namely a good po-
litical issue for. 1932, and, above
all, the general ineffectiveness of
a coalition held together by com-
mon enemies and not a common
goal, when it is forced to assume
responsibility.
Whatever the cause, the coali-
tion's work has been mostly in vain
because of its inherent unfitness hi
our government. The United States
naturally took to the two party
system, progressed under it with
remarkable speed, and must con-
tinue to operate on the same sys-
tem, if it is td achieve its aims in
the direct and efficient manner
} characteristic of the country.
Coalitons are the result of petty
squabbling over political issues.
The American party cleavage is
logical and expedient resulting in
a political system composed of a
strong majority party and a strong
minority party, with no place for
small insurgent minorities holding
the balance of power. With the in-
ception of the latter, there results
a government too ineffective and
uncertain to harmonize with the
American tradition of efficiency.
Despite Coach Yost's contention
that the Michigan collegian drinks
less now than in the pre-Volstead
era, it has been quite noisily ru-
mored that the influx of lamp-
posts on the campus has resulted
from the University's desire to meet
the student half-way.
With Professors Reeves and Reed
and Brown away, perhaps we
should call it the political silence
department.
- 0o
Campus Opinion
Contributo a ke to be hbief,
confinimg tesevs o les thn 300
worAs of poss be. Anonymous com.
municationswi e i rded The
namres of co m ncnt ill, hoee,
be regarded as confiden il, upon re-
quest Le ters published should not he
onstrued as exressng the editorial
opinion of Tbhe Daily.
OSSIP GABRILOWITSCH
IN NEW YORK.
To the Editor
A copy of the March 11, 1930,
Daily has just fallen into my
hands, and tends to arouse indig-
nation at the obviously unfair dis-
missal of Gabrilowitsch by your
critic. I believe he will find, on
careful reading of the scores of
concert reviews of Mr. Gabrilo-
witsch's present New York season,
both as the impeccable conductor,
and as a concert pianist, that tre-
mendously enthusiastic receptions
and loud acclaim were his with hisI
and fairly representative national shows, the annual American Artists'
Exhibition at the Chicago Art Institute, and there we had the fairly
commercialized offerings of a closed New York selling group displaying
their wares on the provincial gallery circuit.
None of the first names in American art are represented here.
But it stands out among the exhibitions of its kind the Ann Arbor Art
Association has been able to bring here because of a certain freshness
and variety of viewpoint, an unhackneyed and agreeably liberal quality.
It is the younger element who give this showing .the interest and variety
that it has. The penalty for success in this country in the arts seems
to be a high one, and its name is standardization. With all the museums
in America-and that means several score-not to speak at all of private
collectors bent on having a typical example of their work, men of lesser
stature, though of a certain degree of eminence, easily fall into the
trick of repeating their first successes, and so gradually develop a
rubber-stamp type of exhibition picture. John F. Carlson with his
over-decorated wood-interior and Robert Spencer with his gray lace
backyard are two of the regular offenders in this respect who appear
in this exhibition. Both were tolerably interesting painters in the
beginning, but gave themselves over long since to the dull business
of repeating and varying the one or two pictorial formulae that have
spelled for them commercial success. How far the dry rot goes can be
easily ascertained by examining either picture. Carlson's bulgy and
overcrowded trees, tagged and garnished in highly baroque fashion,
have no longer even the merit of faithfulness to nature, and nothing
but a thin estheticism lurks behind the dry web of Spencer's pastel
toned brushstrokes.
In refreshing contrast to such empty best-sellerdom is an unpre-
tentionus and enthusiastic little canvas like George Picken's green
"Summer Landscape," full of fresh observation and personal idiosyn-
cracy. Georgina Klitgaard's silvery and sensitive winter landscape has
the note of youth and unspoiled eagerness, as has Saul Berman's sincere
and intense little "Tearing Down." Harry Gottlieb's "Roundhouse" is an
earnest and thorough-going piece of painting, good both as observation
and as design; Davenport Griffen's moody wood-interior has a strong
design idea and a good deal of emotional charge. Glenn Coleman's
low-spirited city street has its being in a realm far removed from the
world of noisy crowds, but its success comes from a kind of absorption in
reality rather than in an escape from it. Samuel Halpert offers in his
"Kitchen" another of his unpretentious but charmingly designed and
richly harmonized patterns of color based on honest observation, and
Paul Rohland abstracts the qualities of his sensitively seen bouquet of
flowers into a design all blond and gray, the color that flowers might
be in some happier world of their own.
Edward Bruce's Italian landscape is a cool and grave but refreshing
thing, literal and yet exceeding the literal because of its sound com-
posing. John Grabach's "October" is a riot of high-keyed color and I
makes good though somewhat conventional use of the pattern possi-
bilities of its subject. Todros Geller extracts a spirited if somewhat dry
linear pattern out of his "Dancers," and Nura weaves her girls, flowers,
cats and other accessories in "When Summer Comes" into a vigorous
and pleasantly colored arabesque, frankly decoration and nothing more.
Molly Luce and Morris Belknap essay the highly personal approach
to their material with only partial success. Jonas Lie's pictorial idea
seems too small for the size of his canvas, and Eugene Higgins, leaning
as usual heavily upon the masters of the past, makes out of his prize-
winning canvas a sort of bad Courbet landscape, with figures in his
own style not very well related to it. Anne Goldthwaite gets linear
design and some mellow color out of a little study of the nude, and
William Meyerowitz has a portrait study of very unusual handling.
State Street
A REVIEW BY PROF. CLARENCE D. THORPE
When Henry insists, in the competitive State Street Serenade, that
"We are singing in the pure amateur spirit," he expresses the whole tone
of this year's Junior Girls' Play in its lovely Lydia Mendelssohn setting.
Not that it is amateurish. Indeed, no. But that it has just that desirable
effect of spontaneity and inartificiality which the professionals are
always trying for but so seldom attain. It is true that there are some
dull moments-the first scene, in case; there is likewise occasional
fumbling, as in Jimmy's failure to synchronize in the otherwise delight-
ful "Feature Waltz"; and I am quite sure we have all seen more per-
fectly trained choruses and heard better singing than characterizes thi;
play-but I am equally certain I have never seen a better all-around
college show.
The book itself is of a good brand, gratefully free from decaying
quips and quillets of last year's favorite musical comedy. "Look into
thy heart and write," once said a wise man to aspiring youngsters. This
play demonstrates the soundness of such advice. Art is sometimes
explained as springing out of an inner reality which transcends outer
reality-desires dreamed into a transformed world where the prosaic
and unlovely fall away and imagined beauty finds its home. State Street
ought to be interpreted in terms of this theory. And what ravishing
dreams these co-eds have!
But at that, they are wide-awake dreams, with plenty of reality in
them. We don't see every day so delicious a spectacle as "Girl in Pink,"
but we do meet at parties and in classes the splendidly vital girls who
dreamed and created that beauty. We are also continually hearing
bits of the quick, crackling, intelligent college humor, which so seldom
finds its way into print, but of which this play is full (the kind in that
jolly scene between Jimmy and Dorothy before the sorority house, or in
Henry's insurance proposition, or in Beppo's "Apple-sauce, but all good
lovers use it.") There are even tears in this imaginary State Street,
but these are real too: how else could Kathleen Badger and Helen
Carrm have sung those melancholy love songs so fetchingly?
Incidentally, the "What Am I Waitng For?" by Helen Carrm was to
me the artistic high spot of the performance-it was not so much the
singing as the perfect, unaffected sincerity of it, the rightness of facial
and bodily response, of the hands in particular. And while we are
speaking of stars, we must not neglect Jane Robinson, as Henry, cer-
tainly about the "cutest man" ever seen hereabouts; nor Jeannette Dale,
a young lady of such talent and contagious vivacity that one could not
imagine this play without her; nor Joselyn McLean and Ruth Bishop
in their delectable "Sweet and Low-Brow."
In a show where so much is good it is hardly gracious for a reviewer
to single out special features. The choruses were almost uniformly
acceptable, but there was a reason for the insistent recall of the Gibson
Girls: even more than individuality and amusing grotesquerie it was
the spirit of hilarity bursting through and infecting the audience. The
mechanized perfection of the Mask chorus was less popular, but more
artistic. The Country Girls were called back because of their vigorous
abandon. Vigor, it should be remarked, is a characteristic of this show.
Miss Loomis has succeeded in creating in her charges a spirit of almost
electrical vitality rarely seen in amateur work. The play is alive;
there is impact in it. Sometimes, it is true, this energy goes a little
beyond bounds, as when Barbara Stratton, as Alice, the romantic man-
hunter, effective enough in her role of insouciance, overplays her vigor-
ous scenes; but usually it is under admirable control.
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